María Inés Rodríguez Fernández has been appointed to the position of director of CAPC contemporary art museum of Bordeaux by a jury presided by Mayor Alain Juppé, and composed of international experts in contemporary art and officials from the French ministry of culture and of the City of Bordeaux.
Yayoi Kusama: Infinite Obsession, the first in-depth survey of the work of one of the most original and inventive artists of the postwar period to be presented in Latin America, was organized by Malba – Fundación Costantini.
C.F.: I’d like you to tell us about your intellectual training and the ideas that appear in your work, which are inserted in fields as diverse as “queer” politics, art and protest, twentieth-century Peruvian art, memory reactivation, and the processes of “historicization” of Latin American art between the 1960s and the 1980s, ideas that are, on the one hand, specific and constitute an archaeology of little researched histories of Peru and Latin America, and that offer, on the other hand, perspectives that disavow traditional art history models and set themselves up as possible spaces of critical re-signification.
The exhibition Sinergia/Synergy at Magnan Metz Gallery, New York features a selection of hyper-real sculptural objects crafted by Colombian artists Diego Fernando Álvarez and Maria Paula Álvarez collectively known as Mangle.
It is a well-known fact that conceptual art cannot be understood without resorting to the essential structure it received from the most relevant authors of the revision of modernity carried out in the 1960s in Brazil.
Carola Bravo’s video installations in “We Are Where We Are Not” bring to my mind a foundational moment in the history of this genre that did not take place in the field of art but in the field of literature.
Enrique Martínez Celaya’s summer 2013 exhibition at SITE Santa Fe follows a 2011-12 installation of Schneebett (2004) at the Miami Art Museum, and provides an opportunity to survey his career.
For many of the people who are part of the field of art, the first artistic project that Nicolás Paris publicly inscribed in the world was the book Doblefaz, published in 2008.
On an unseasonably warm fall day in October, on a Friday afternoon, I am at Y Gallery, where I am to meet Alberto Borea (b. 1979, Lima, Peru) to tour his second solo exhibition in New York titled “Because of Construction”.